Song Without a Name (Melina León, 2019): Peru

Reviewed by Jeremy Ellison. Viewed at AFI Fest 2019

.Melina León’s debut Song Without a Name may be the most unlikeable film I saw at AFI Fest. But that’s not to say the film itself isn’t good, because it is. It’s very good, actually. But the experience of watching it is so distressing and unrelenting, it’s difficult to enjoy it at all.

I don’t want to get into specifics of the plot, as to not spoil a major inciting incident, so I’ll just say that it involves human trafficking. (That, alone, should tell you what kind of film this is.) The film follows 20-year-old mother Georgina (Pamela Mendoza) and a young, determined journalist played by Tommy Párraga. It’s beautifully and dramatically photographed in black and white by cinematographer Inti Briones. With both the character of Georgina and the visual quality, it’s easy to be reminded of Alfonso Cuarón’s Roma.

León’s direction is highly impressive. She frames and directs characters with such force and intensity, it’s impossible not to recognize her prowess. The Peru setting is given a life of its own, often portrayed as bleak and inhospitable. León has a knack for speaking emphatically through visuals. But the standout of the film is Pamela Mendoza’s gut-wrenching performance. She is tasked to depict an unimaginable level of grief and turmoil throughout nearly the entire runtime, and she never misses a beat. It’s painful to watch her, but you would never dare look away.

Where the film falls short is its inability to provide any closure. I understand that, due to the nature of the story, it’s unreasonable and untrue to expect a cinematic ending. But there is still an option to conclude the story in a way that gives resolution to both characters and plot, neither of which receive any. The film ends unexpectedly soon. Furthermore, some subplots are left unresolved, which in turn renders them slightly pointless. For example, a political uprising is described at the start of the film. We see some of this in the film, but only briefly and in the background. Whereas this element should have added subtext and depth to the story, it felt unnecessary and distracting. Also, there’s a romantic subplot involving one of the leads that arrives very suddenly, and leads nowhere. If the film had explored these aspects further, the film wouldn’t feel so incomplete.

But maybe my biggest gripe with the film is how, by the end, it just felt empty. It is an undeniably powerful and captivating film about an indigenous woman’s journey through tragedy, but it has little to say on the topic. With a story such as this, it should be virtually impossible for one to walk away without feeling like they’ve just experienced something unforgettable. But unfortunately, I didn’t. The film seems to say that life can be brutal and hopeless, and nothing else.

If anything, this film is a great testament to the craftsmanship of director Melina León and actress Pamela Mendoza, two artists who have a bright future ahead of them.